1. You may identify the stasis in the play but it isn’t necessarily at the beginning of the play. Where is it and who does it involve?
The stasis is in the United States in the winter of 2006 and involves the protagonist (who is also the author of the play), David Henry Hwang, who is a director trying to further his career. It is an issue because the Asian-American community in theater is relatively small and unrecognized, so he wants to increase appreciation. It mainly starts off with Hwang expressing his disapproval of the play Miss Saigon since it cast a white actor, Jonathan Pryce, for an Asian character. Many other Asian-Americans share this perspective and supported his protests as well. This is the stasis because it provides a sense of background and something to base the play off of. This consistency ends up being broken by another event as well.
2. Ball points out that the intrusion sometimes occurs late in the dramatic action. What is the intrusion that breaks the stasis in Yellowface and how is it broken?
The intrusion is the fact that David Henry Hwang casted a white actor, Marcus G. Dahlman, for an Asian character in his play, Face Value. This moment serves as the intrusion because it is so ironic and hypocritical. Though Hwang had expressed his distaste for casting white people in Asian roles, he himself cast a Caucasian man for his play. The public would probably view this to be hypocritical, and Hwang even tries to fix his mistake by saying Dahlman was of Asian descent since the play was already too expensive at this point. This is the intrusion since it helps fuel the play onward and creates more tension and stress that break the somewhat smooth stasis. It is mostly at this moment that conflict, tension, and dramatic action start to build up.
3. Why do the events of the play take place at this particular time and place? In other words, what is the unique factor that is out of the ordinary that causes a turn of events to take place? Hint: what is the heart of the play? How does the title figure in this?
The unique factor is the fact that Hwang had protested Miss Saigon. This is significant since he takes a certain stance but goes against this belief by casting a white man in an Asian role. It shows conflict; had he not taken this side, then he wouldn't have faced the conflict of casting a white man himself. This initial opinion drives the conflict of the intrusion, which is why it is the unique factor of the play. The title Yellowface obviously implies the negativity of the yellow face concept, but it is extremely ironic because Hwang has gone against his original belief about this subject.
4. State the dramatic question that must be answered by the end of the play? (Ordinarily, the dramatic question shares a close connection with the intrusion.)
The dramatic question is: How will David Henry Hwang be able to address the issue of "yellowface" and maintain his career and family life?
5. Use Hwang’s “character” to answer the questions concerning character. Ball says, a character is revealed by what he/she does, ie. The dramatic actions that are taken. Examine what these particular characters wants. The wants of a character often encounter obstacles that get in the way of achieving those wants. Ball says there are 4 kinds of obstacles that frustrate the wants of a character. They are: a. Me against myself, b. Me against another individual, c. Me against society (that is law, social norms, etc.) and, d. Me against fate, the universe, natural forces, God or the gods. In answering these questions be sure to point to the particular obstacles that demonstrate these obstacles facing each of the lawyers.
Hwang originally wants to oppose the idea of yellowface, thinking it is injust and offensive. Eventually, he wants to continue his play to continue his career even though his play uses yellowface. There are many obstacles against this desire
1) Me against myself: this situation is particularly hard for David because he supported a position against yellowface, but he contradicts himself by using it in his own play. This creates a dilemma within himself, and he is conflicted on what is right and wrong. This is also a little ironic because he seems to be quite stubborn and has a hard time admitting his mistakes until it's too late. He is conflicted on what "face" he has himself since he continues to discover who he really is throughout the play and does not know what is real and what isn't.
b) Me against another individual: there is not too much evidence for this, but the audience can see Hwang and his father argue at certain points of the play, which definitely do not help Hwang's stress and internal dilemma.
c) Me against society: People have witnessed his protests against the casting of a white man in Miss Saigon, so it can be assumed that many people would be upset by the fact that he would try to do this. Also, the idea of yellowface is very sensitive as many people can argue for and against it, so in a way, it can be seen as taboo in society.
d) There is not much evidence for me against fate/universe.
He ends up regretting his action of casting a white man and wants to take it back, but the audience can see more evidence of "me against society" with this desire. He wants to let go of Dahlman, but his lawyers say it would against the law to fire him just because he was white. Because of this, he cannot fire Dahlman and is still left with a big dilemma.
6. The most important information in most plays takes place during theatrical moments. Identify the most theatrical moments in Yellow Face.
The most theatrical moments in Yellowface is most likely when Hwang's father dies. This provides a contrast to the beginning/middle of the play since it focuses on the relationship between Hwang and his late father. It is especially theatrical because the audience has already been exposed to the mistreatment of his father, who was accused of political scandal. The audience would be more empathetic at this point, and this moment is theatrical since it is genuinely sad. This scene evokes mournful vibes from the audience; though this scene is not extremely electrifying, it can be seen as a soft climax.
1. You may identify the stasis in the play but it isn’t necessarily at the beginning of the play. Where is it and who does it involve?
The stasis is in the United States in the winter of 2006 and involves the protagonist (who is also the author of the play), David Henry Hwang, who is a director trying to further his career. It is an issue because the Asian-American community in theater is relatively small and unrecognized, so he wants to increase appreciation. It mainly starts off with Hwang expressing his disapproval of the play Miss Saigon since it cast a white actor, Jonathan Pryce, for an Asian character. Many other Asian-Americans share this perspective and supported his protests as well. This is the stasis because it provides a sense of background and something to base the play off of. This consistency ends up being broken by another event as well.
2. Ball points out that the intrusion sometimes occurs late in the dramatic action. What is the intrusion that breaks the stasis in Yellowface and how is it broken?
The intrusion is the fact that David Henry Hwang casted a white actor, Marcus G. Dahlman, for an Asian character in his play, Face Value. This moment serves as the intrusion because it is so ironic and hypocritical. Though Hwang had expressed his distaste for casting white people in Asian roles, he himself cast a Caucasian man for his play. The public would probably view this to be hypocritical, and Hwang even tries to fix his mistake by saying Dahlman was of Asian descent since the play was already too expensive at this point. This is the intrusion since it helps fuel the play onward and creates more tension and stress that break the somewhat smooth stasis. It is mostly at this moment that conflict, tension, and dramatic action start to build up.
3. Why do the events of the play take place at this particular time and place? In other words, what is the unique factor that is out of the ordinary that causes a turn of events to take place? Hint: what is the heart of the play? How does the title figure in this?
The unique factor is the fact that Hwang had protested Miss Saigon. This is significant since he takes a certain stance but goes against this belief by casting a white man in an Asian role. It shows conflict; had he not taken this side, then he wouldn't have faced the conflict of casting a white man himself. This initial opinion drives the conflict of the intrusion, which is why it is the unique factor of the play. The title Yellowface obviously implies the negativity of the yellow face concept, but it is extremely ironic because Hwang has gone against his original belief about this subject.
4. State the dramatic question that must be answered by the end of the play? (Ordinarily, the dramatic question shares a close connection with the intrusion.)
The dramatic question is: How will David Henry Hwang be able to address the issue of "yellowface" and maintain his career and family life?
5. Use Hwang’s “character” to answer the questions concerning character. Ball says, a character is revealed by what he/she does, ie. The dramatic actions that are taken. Examine what these particular characters wants. The wants of a character often encounter obstacles that get in the way of achieving those wants. Ball says there are 4 kinds of obstacles that frustrate the wants of a character. They are: a. Me against myself, b. Me against another individual, c. Me against society (that is law, social norms, etc.) and, d. Me against fate, the universe, natural forces, God or the gods. In answering these questions be sure to point to the particular obstacles that demonstrate these obstacles facing each of the lawyers.
Hwang originally wants to oppose the idea of yellowface, thinking it is injust and offensive. Eventually, he wants to continue his play to continue his career even though his play uses yellowface. There are many obstacles against this desire
1) Me against myself: this situation is particularly hard for David because he supported a position against yellowface, but he contradicts himself by using it in his own play. This creates a dilemma within himself, and he is conflicted on what is right and wrong. This is also a little ironic because he seems to be quite stubborn and has a hard time admitting his mistakes until it's too late. He is conflicted on what "face" he has himself since he continues to discover who he really is throughout the play and does not know what is real and what isn't.
b) Me against another individual: there is not too much evidence for this, but the audience can see Hwang and his father argue at certain points of the play, which definitely do not help Hwang's stress and internal dilemma.
c) Me against society: People have witnessed his protests against the casting of a white man in Miss Saigon, so it can be assumed that many people would be upset by the fact that he would try to do this. Also, the idea of yellowface is very sensitive as many people can argue for and against it, so in a way, it can be seen as taboo in society.
d) There is not much evidence for me against fate/universe.
He ends up regretting his action of casting a white man and wants to take it back, but the audience can see more evidence of "me against society" with this desire. He wants to let go of Dahlman, but his lawyers say it would against the law to fire him just because he was white. Because of this, he cannot fire Dahlman and is still left with a big dilemma.
6. The most important information in most plays takes place during theatrical moments. Identify the most theatrical moments in Yellow Face.
The most theatrical moments in Yellowface is most likely when Hwang's father dies. This provides a contrast to the beginning/middle of the play since it focuses on the relationship between Hwang and his late father. It is especially theatrical because the audience has already been exposed to the mistreatment of his father, who was accused of political scandal. The audience would be more empathetic at this point, and this moment is theatrical since it is genuinely sad. This scene evokes mournful vibes from the audience; though this scene is not extremely electrifying, it can be seen as a soft climax.